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410 – Cosmo

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Mondays are bleak by definition but November Mondays especially so. It’s cold, dreary and not quite Christmas. In short everything about today should suck but, wait what’s this light on an otherwise gloomy day? It’s only the bloody DT podcast and this week we’ve got an extra special mix to warm the hearts of even the most downhearted with a hour of cuts from one of the unsung hero of New York’s 90s disco explosion Colleen “Cosmo” Murphy.

Tutored by two of the scenes most respected names in David Mancuso and François K, Colleen has literally done it all. Run a record label. Check. Tour the globe as a DJ. Check. Host her own radio show. Create an event brand. Check. Compile a DT podcast… check. And that’s not even the half of it. We’ve not even mentioned an illustrious studio career that saw her team up with the likes of like X-Press 2’s Ashley Beedle (as Darkstarr Diskotek), former Captain Beefheart guitarist Gary Lucas (as Wild Rumpus) and remix some of the most adventurous women in music, including Bat For Lashes, Sinead O’Connor and Planningtorock.

So whilst this may be your first taste of Colleen’s talents we’re sure it won’t be the last; as you all look deeper into her many projects. Until then check out this mix. Sounding good Colleen!

Sum up this podcast in 10 words…

Live set opening for Beardyman featuring visionary, rebellious music.

What’s your personal favourite track on it?

This changes from day to day, moment to moment but right now it is Ame & Amampondo with ‘Ku Kanjani’ as I love that mix of African music with techno.

What’s the special ingredient in this mix?

There are a couple: The fact that it is a live DJ opening set means that it is paced as a builder as in the beginning people are coming into The Brixton Academy and by the end it is a full house so the music reflects that and sets the tone. The most significant ingredient is the wide range of music so one can hear Carl Craig, Roland Kirk, Captain Beefheart and Yello but I feel they are all unified through a spirit of rebellion.

What’s the best gig you’ve played recently? 

Our Lucky Cloud Loft parties are still my favourite parties in the UK at which to play records, to listen to music and to dance. We started it over 11 years ago with my friend and mentor David Mancuso from The Loft in New York City. We put together Europe’s highest end audiophile party system (each cartridge is worth over £5,000…) and we have a terrible carbon footprint as people from all over Europe, Japan, Hong Kong, Brazil and now even Australia fly in for our parties. We recently moved venue in June and our inaugural party at The Rose Lipman Community Centre was a real ‘moment’.

What have you got coming up?

Our next Lucky Cloud Loft party of course – 14 December (www.loftparty.org).

And finally, do you have a special message for our readers?

DJ sets should not be centred on one genre and one BPM mixed flawlessly on CDJs or Seratto. It is boring and a monkey could be trained to do that. They should feature depth of musical knowledge, creative programming and getting the best sound possible.

  1. Burnt Friedman & Jaki Liebezeit – ‘Sacred Rhythms’ (Shackleton Remix)
  2. Roland Kirk – ‘Rip, Rig and Panic’
  3. Captain Beefheart & The Magic Band – ‘Ella Guru’
  4. Funkadelic – ‘Cosmic Slop’
  5. Carl Craig – ‘Mind of a Machine’
  6. Kraftwerk – ‘The Robots’ (2009 Remaster)
  7. Four Tet – ‘Pinnacles’
  8. John McLaughlin – ‘Marbles’
  9. Ame & Amampondo – ‘Ku Kanjani’
  10. Aladdin – ‘The Sun is on Fire’
  11. Pink Floyd – ‘One of These Days’
  12. Paul McCartney – ‘Temporary Secretary’ (Funk Sinatra Breaks Edit)
  13. White Label Unkle – ‘Trouble in Paradise (Variation on a Theme)’
  14. Yello – ‘Bostich’
  15. Junkie XL & Jan Hammer – ‘Made for Each Other’
  16. Johnny Harris – ‘Odyssey’
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Grahame Farmer

Grahame Farmer’s love affair with electronic music goes back to the mid-90s when he first began to venture into the UK’s beloved rave culture, finding himself interlaced with some of the country’s most seminal club spaces. A trip to dance music’s anointed holy ground of Ibiza in 1997 then cemented his sense of purpose and laid the foundations for what was to come over the next few decades of his marriage to the music industry.

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